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"WHAT'S IN A NAME?" 



COMEDY IN ONE ACT 



BY 

FANNY CANNON 

AUTHOR OF 

' Writing and Selling a Play, " " The Lady of the Opera House, ' ' 
' ' T/ie Love Laggard. ' ' 

CO-AUTHOR 

^The Mark of the Beast ,^' {Produced at the Princess, New York). 
"Meow! " 



dedicated to 
The New York Theatre Club 




CHICAGO: 

T. S. DENISON & COMPANY 

Publishers 






"WHAT'S IN A NAME?" 

Written especially for President s Day, New 
York Theatre Club, and produced under the 
direction of the author on the occasion of the 
Club s Annual Breakfast, at the Hotel Astor, 
April 21, 1914, with the following cast of 
professional players : 

James Everett .... Edwin Cushman 

Bertram TownSEND . . George Prober/ 
Irene MaCEY Anna Wynne 

Kate Bradford .... Fanny Cannon 
Maggie McGinnis ... Amy Ames 



NOTICE ! 

Production of this play is free to amateurs, but the 
sole professional rights are reser\-ed by the author, who 
may be addressed in care of the Publishers. 



COPYRIGHT, 1916, BY EBEN H. NORRIS. 



P- 



^OV -4J9L6, 

G)C1.D 4535)5 TMP92-008799 



"WHAT'S IN A NAME?" 



DRAMATIS PERSONN^. 

James Everett The Husband 

Bertram Townsend A Neighbor 

Irene Macey A Bride 

Kate Bradsford Her Friend 

Maggie McGinnis Her "General Girl" 

Time — A Morning in Early April. 

Place — Any Large City. 

Place — A Harlem Flat, Nczu York City. 

Time of Playing — About Twenty-five Minutes. 




4 "WHAT'S IN A NAME?" 

COSTUMES AND CHARACTERISTICS. 

Jim — A young business man, well groomed and of 
pleasing appearance. Wears overcoat on entering. His 
hat and gloves are on the table. 

Bertram — A well groomed man of about thirty years. 
Wears gloves and carries his hat. 

Irene — A pretty little woman with a decided manner 
and personality. About twenty-five years of age. Attired 
in a house dress. 

Kate — She is dressed for her morning's marketing. A 
well groomed young woman with a comfortable, pleasing 
manner. 

Maggie — An Irish general housework girl. Wears a 
gingham apron and a work cap. Later, hat and coat. 
Her manner expresses grim disapproval, verging on im- 
pudence. 



PROPERTY LIST. 

Packing box of books, for Irene to unpack. 
Door-bell to ring, ofT stage. 
Cheap bag or suitcase for Maggie. 
Money (paper bill) for Jim. 
Wedding ring for Jim. 



STAGE DIRECTIONS. 

R. means right of stage; C, center; R. C, right center; 
L., left ; upstage, away from footlights ; downstage, near 
footlights. The actor is supposed to be facing the audi- 
ence. 



"WHAT'S IN A NAME?'* 



Scene — The sitting-room of a smull apartment. As the 
occupants have just jnored in, the pictures are leaning 
against the walls. A chair is just right of center. An- 
other smaller chair is a little left. A box of hooks is 
about center, upstage. A small table is up left, in the 
angle of the tzvo doors. One of these, leading to the 
hall, is in the left wall; the other, leading to the adjoin- 
ing room, is in the rear wall, near the angle where it 
joins the left. Other chairs and furnishings are ar- 
ranged in disorderly groups. 

At Rise — Irene, a pretty little woman with a decided 
manner and personality, is bending over the box of 
books. 

Jim, with his overcoat on, enters through the door at 

back. His hat and gloves are on table up left. 

He is a young business man, zvell groomed 

and of pleasing appearance. 

Jim. 
I hate to leave you to do all this. 
Irene. 
{Straightening up.) 
Oh. don't you worry about that. {Seeing he has on his 
coat.) Are you starting? 

Jim. 
Yes ; I'm late now. Should have been in the office by 
ten. But one doesn't marry, and move, and hire a girl, 
all in one day, without feeling a little like lingering next 
morning, eh? Iyce^e. 

{Going up to him and cuddling close.) 
I think we were so sensible not to have a honeymoon, 
and begin right off being just married people. Don't 
you? 

5 



6 "WHAT'S IN A NAME?" 

Jim. 
{Laughing.) 
I don't mind. But I suppose every old granny in town 
would cackle about it, if we hadn't moved so far uptown 
that they may think we've gone to Washington or Niag- 
ara Falls, any way. 

Irene. 
{Decidedly.) 
It wouldn't matter, at that. We are going to do just 
as you and I think best, aren't we? 

Jim. 
That's what we decided, and it goes. And now I must 
be off. I'll get back for a bite of lunch, so it won't be 
long. 

Irene. 
It's so nice of your people to have an office on 125th 
Street. t 

JlM. 

{Taking up his hat and gloves.) 
You won't be lonesome? 

Irene. 
I'll try not. I've heaps to do — and a new girl to break 
in — but I'll be glad to see you again. 

Jim. 
{With mock heroics.) 
How can I bear to leave thee ! 

Irene. 
{Laughing, with a playful pusJi.) 
Duty calls. So off with you! {He kisses her and to- 
gether they ivalk to the hall door, L. He exits. She 
calls after Jiini.) It'll be a long time until lunch. {She 
closes the door and comes back zvith a half sigh. Then, 
remembering the task before her, goes back to her un- 
packing. There is a knock at the door, back left.), 
Come in. 



"WHAT'S IN A NAME?" 1 

Enter Maggie. She is a type of tlie Irish general house- 
work girl, in a gingham apron and work cap. 
Throughout the play her manner expresses 
grim disapproval, verging on impudence. 

Irene. 
Well, Maggie. 

Maggie. 
If you please, ma'am — I should say, miss — there's 
roaches in the kitchen sink, and I don't hold with roaches. 

Irene. 
Oh, how horrid! Isn't there something we can get? 

Maggie. 
{Disapproving of her ignorance.) 
Sure. There's lots of things. 

Irene. 
Well, make a list of everything like that we need, and 
go to the corner grocer's — we arranged to trade there 
yesterday. ^^^^^^^ 

{Her nose up.) 

We ! 

Irene. 

{A little surprised at her manner.) 
Mr. Everett and I. 

Maggie. 
Oh, ye did. Well, I'll go, ma'am — I should say miss. 
(with every line of her face and figure expressing her 
disapproval, she exits door back left. Irene, alone, 
frowns a little over the encounter, as her eyes follow 
Maggie to the door. She returns to her work. A distant 
ring at door hell is heard.) 

Kate. 
(Outside, to Maggie.) 
Does Mrs. Everett live here? 



8 "WHAT'S IX A NAME?" 

Maggie. 
(^0 lit Slide.) 
Mrs. Everett, is it? Miss Macey lives here. 

Kate. 
Oh ! Is she in? {The voices arc listened to zmth some 
surprise by Irene. She goes quickly to the door left. 
Opens it.) 

Irene. 

Come right in, Kate. 

Kate Bradford enters. She is dressed for her morning's 

marketing — a ivell groomed young woman zvith a 

comfortable, easy manner, suave, pleasant, 

clever. 

Irene. 
Do sit here. {She motions her to the chair right.) 
That's the worst of these flats. I suppose you rang the 
back door bell. 

Kate. 
{Sitting back comfortably.) 
It was dreadful of me to come like this, in the midst 
of your unpacking and getting to rights — 

Irene. 

( Cordially, interrupting. ) 
Not a bit of it. I'm very glad to see you. But how 
did you know I was here? 

Kate. 
{Laughs.) 
Now, that's our pleasant little New York way. Have 
you forgotten I live across the street? 

Irene. 
{Laughs, sits chair left.) 
That's one on me, isn't it? It's the worst of visits a la 
telephone. So you saw us moving in yesterday ? 



"WHAT'S IN A NAME?" 9 

Kate. 
Yes. And as I was coming from the butchers this 
morning I met Mr. Everett, and he suggested my drop- 
ping in. 

Irene. 
What was the argument I heard in the hall? 
Kate. 
(Laughing.) 
My dear, I think your maid disapproves of you.- 

Irene. 
Her manner is strange. Jim got her from the intelli- 
gence office late yesterday. 

Kate. 
You and Jim seem to have spent a strange wedding 
day — what with moving and everything else. 

Irene. 
You know my views — and we decided to be very sen- 
sible. 

Kate. 
I judge by the kitchen lady's remark that one of your 
views is striking a snag already. 

Irene. 
(A little obstinately.) 
How so? 

Kate. 

(Getting up and going over to her, putting her hand on 

her shoulder.) 

My dear child, you're really not going to put your little 

theory regarding names into actual practice right here 

in a Harlem flat ? 

Irene. 
(Obstinately.) 
I am. What's the use of believing in a theory if you're 
not prepared to live up to it? 



10 "WHAT'S IN A NAME?" 

Kate. 
{Turning center.) 
Yes, of course, in most things. But in this case^ — {she 
stops center, facing Irene) you ought to carry a placard 
with, you. {She returns to her chair and sits. Irene 
giz'es her an inquiring look.) "1 am a pioneer, working 
out a new idea!" That's good. It's poetry. {She speaks 
in a sing-song manner.) I am a pioneer, working out a 
new idea. 

Irene. 
{Slightly annoyed, jumps up and starts upstage, flicking 
her left hand out at Kate as she passes her.) 
Oh, nonsense ! nonsense ! 

Kate. 
{Catching her hand and examining the fingers.) 
And no wedding ring! Oh, now, Irene, I must talk 
to you ! 

Irene. 
{Making an impatient little gesture.) 
Jim and I are entirely agreed in this. 

Kate. 

My dear, Jim is in that state of honeymoon bliss that 
he'd agree to your putting on a sky-blue pink wig to go 
to market, if you chose. So, don't quote Jim to me at 
this stage of the game. 

Irene. 
{Coming forivard a little.) 
But Kate, you know how I've always held that a woman 
had a right to her own name all her life — and here's my 
chance to prove it. 

Kate. 

{Sitting straight up.) 

Look here, Irene Macey — no. I zvon't say that — Irene 

Everett, if you were a professional woman and wanted 

to keep your name as a sort of trademark in vour busi- 



"WHAT'S IN A NAME?" 11 

ness relations, I wouldn't say a word. That's a thing 
every one does these days. But you're not. You're just 
a clever girl interested in all new ideas, and you've gone 
dotty about one of them. 

Irene. 
I haven't. Besides {she returns to her chair), you 
ought to agree with me. You're a suffragist, too. 

Kate. 

{Settling hack comfortably again.) 

Oh, yes. But that's the worst of you extremists. You 

will insist on fogging the real issue in your efforts to 

prove your own particular pet theory. Believe me, you're 

"troubling trouble" with a vengeance. 

Irene. 
{Looking superior.) 
I'll take a chance. {There is a knock at the door hack 
left.) Come in. 

Enter Maggie. {She comes a little center.) 

Irene. 
What is it now, Maggie? 

Maggie, 
If you plaze, ma'am — I should say, miss — (Kate turns 
aside to hide a smile) I wint to the grocer's and ordered 
some things for Mrs Everett — to be charged — and he said 
he didn't know anny sich person — {Jier virtuous indigna- 
tion rising) thin I said maybe 'twas Macey — Miss Macey 
— and he said, yis, it was. (Irene looks annoyed, Kate 
amused.) You'd ought to have seen the look he gave me. 

Irene. 
I don't see why you come to me with all this. 

Maggie. 
Well, ma'am — I should say, miss — the grocer's boy is 
after havin' brought the things — they was for Miss Ma- 



12 . "WHAT'S fN A NAME?" 

cey — and he winked at me. I told him he was too fresh, 

and he axed me if I wasn't gettin' pretty good wages, 

and — 

Irene. 

{Sternly, rising.) 
That will do, Maggie. 

Maggie. 

(Sniffs I'irtnonsly and turns back to the door. There she 

faces Irene.) 

But remember, ma'am — miss — I don't have to stand 

no impident grocer's snips. (With her head up she 

exits. ) 

(Following her up center.) 

Impertinence ! 
(Kate, unable to control herself any longer, laughs 
heartily.) 
How dare you! Oh, I suppose you think I'll give in. 
But I won't — I won't. 

Kate. 
(Going to her and taking her by the arms.) 
But, dear girl, the whole situation is so unnecessary. 
You are still you, no matter what you call yourself. 
(Walking a little away from her.) As for adding your 
husband's name to your own, why object? (Facing 
Irene.) It's only one way of indicating a partnership. 

Irene. 
(Walking dozvn left.) 
But so many women drop their own names altogether. 

Kate. 

(Laughs.) 

Yes. I got so tired of being Katie Smith I was only 

too glad to have Mrs. LeRoy Bradford on my visiting 

cards. And Kate Bradford sounds so nice. So strong, 

so individual ! 



"WHAT'S IN A NAME?" 13 

Irene. 

{Snapping her up.) 
Individual ! It isn't your individuality. 
Kate. 
{Easily.) 
Oh, isn't it? Well, you just let anyone try to call my 
husband "Kate." That's as individually my name as 
LeRoy is his. (Irene sniffs contemptuously.) All right. 
But if you'd ever been called, for instance, Sadie Dinkel- 
spieler for years, I'll bet you wouldn't be so anxious to 
hold to your maiden name when the law gave you the 
right to call yourself Sarah Pendleton. 

Irene. 
(Returning to her chair. She does not sit.) 
You're quibbling. j^^^^ 

Am I ? Well, here's a facer. What are you going to 
call your children? 

Irene. 
{Drawing herself up.) 
We hadn't begun to talk of children. 
Kate. 
{Bluntly.) 
Well, you'd better. They do happen, you know. 
Irene. 
{As if the answer was quite simple.) 
Why, of course, they would take both our names. 

Kate. 
Macey-Everett. Not bad. {A thought strikes her. 
She laughs, turnimg upstage, right.) But what a nice 
bunch of hyphens there'll be in a few generations. 

Irene. 
(Sitting and facing her.) 
Hbw's that? 



14 "WHAT'S IN A NAME?" 

Kate. 
{Enjoying the situation.) 

Well, let's see. You have a daughter, Mary — Mary 
Macey-Everett. She marries Thomas Simpson-Jordan. 
They have a daughter, Jane — Jane Macey-Everett-Simp- 
son-Jordan. Well, Jane — etcetera — marries Jones — of 
course he'll have a string of hyphens, too, but I'll leave 
them out — their daughter would be Lucy Macey-Everett- 
Simpson- Jordan-Jones — and all his hyphens — and so on, 
ad libitum, ad infinitum, ad nauseam! {She throzvs up 
her hands with the last ivords, coming dozvn right.) 

Irene. 
(Rising, putting her hands to her ears.) 
Stop! Stop! Of course it's simple. Some of them 
would have to be dropped. 

Kate. 
{Facing her.) 
Which ? Papa's or mamma's ? You'd have to play fair, 
you know — no favorites. {With a change of tone and 
manner, coming to her.) But there; I've teased you 
enough — and on my first visit, too. I must get home. 
{She crosses to the door.) But I'd think it over if I 
were you. I'll see you at the meeting Thursday ? 

Irene. 
{Still slightly daced.) 
Oh, yes ; I'll be there. 

Kate. 
Good. Until then. {She exits. Irene remains at the 
open door. Kate's voice is heard outside.) Why, Ber- 
tram Townsend, where did you drop from? Here, wait 
a minute. I want you to renew your acquaintance with 
an old friend. (Irene's face shows interest.) 

Kate re-enters, follozved by Bertram Townsend, a well 

groomed man of about thirty. He is gloved and 

carries his hat in his hand. 



"WHAT'S IN A NAME?" 15 

Irene. 
Why, Mr. Townsend ! Do you live in the apartment ? 

TOWNSEND. 

Yes. I keep bachelor hall just two flights up. But I 
didn't know you'd moved in, Miss Macey. 

Kate. 

{Smiling wickedly.) 
I'll leave you and — Miss Macey, as I must hurry home. 
The children will be coming home for lunch. {She nods 
good-bye and exits.) 

Irene. 
{Going right.) 
Won't you sit down? 

Townsend. 
{Closing the door after Kate^ places his hat on the table 
left and sits chair left.) 
It's a long time since we met, isn't it? 

Irene. 
Yes, quite a year, I think. You've been away? 

Townsend. 
Yes. {He shows great interest in her.) 1 tried to find 
you — in fact I wrote. 

Irene. 
I had no letters. But then, so many go astray. ( There 
is a knock at the door back left.) Come in. 

Enter Maggie. She sho7vs surprised indignation at the 
sight of a strange man. 

Maggie. 
{Eyeing Townsend with meaning disapproi'al. He does 
not notice her at all.) 
I beg pardon, ma'am — I should say, miss — it's only 
that the meat has came. 



16 "WHAT'S I.\ A NAME?" 

Irene. 

{A trifle impatiently.) 

Well, put it in the refrigerator. 

Maggie. 

Yes, ma'am — miss. I can see you want to be alone. 

Irene. 
Maggie! (Maggie looks ttpzvard, as if turning the 
zvhole affair over to higher poivers, then with a shrug she 
exits. Embarrassed , Irene turns back to Townsend, 
zvho has been politely ignoring the scene.) 
You were saying? 

Townsend. 
Oh, yes. I wrote — once or twice, I think — and then I 
tried to find you on my return. 

Irene. 
When did you get back to New York ? 

Townsend. 
About a month ago — and I can't tell you how glad I am 
to see you again and that you're still Miss Macey. 

Irene. 
(Sticking to her guns.) 
Oh, yes, I'm still Miss Macey — but — 

Townsend. 
I mean to see quite a little of you, now that I've found 
you, and we'll go about a bit. What are you doing this 
evening? 

Irene. 
(Awkwardly.) 

Well, you see — you don't understand. Mr. Everett 
will be here — he comes home early — 

Townsend. 
(Rising, surprised.) 
Home! Mr. Everett! He /?i'^.y here ! With you? 



"WHAT'S IN A KAME?" 17 

Irene. 
{Defiantly.) 
Of course. Why not? 

TOWNSEND. 

{Dazed, sits again.) 
Oh, yes! of course. Why not! (He passes his hand 

oz'er his forehead.) 

Irene. 

(Icily, rising and turning right.) 
It's usual, I beHeve, for a man and wife to Hve to- 
gether. 

ToWNSEND. 

Alan and wife! You are married? 

Irene. 

(Indignantly.) 

Of course. How dared you suppose anything else? 

Townsend. 

(Defending himself, rising.) 

But — you didn't say you were. 

Irene. 
Does a man always have to inform every one he is 

married. t, 

Townsend. 

{Bewildered.) 

But — I don't understand. You call yourself Miss 

Mace}" — you wear no ring — ♦■ 

Irene. 
(Launched on her hobby.) 
That's the way! Because I'm married I must change 
my name, and put on a slave's badge. Why should I be 
labeled any more than a man? 

Townsend. 
(IVJio has not thought about it before.) 
Why — I suppose — it's the custom — 



18 "WHAT'S IN A NAME?" 

Irene. 
( Contemptuously.) 
Custom ! _, 

TOWNSEND. 

And a sort of protection. 

Irene. 
Well, I don't need that kind of protection. 

ToWNSEND. 

{Going back to his own grievance.) 
But it leads to so many misunderstandings. People 
think that you are free — men feel that they have a right 
to-care for you. j^^^^ 

(With the trinmphant air of one scoring a point.) 
How about the men who let women think they are free 
to be loved? TowNSEND. 

(Earnestly.) 
Oh, yes — but decent men call such men cads. 
Irene. 
(Walking about.) 
I fail to see what business it is of society's, whether a 
woman is married or single, with or without children, 
any more than it is about a man. 

Townsend. 
Wait a bit. Not so fast. You forget that Uncle Sam 
is very much interested in a little matter he calls Vital 
Statistics. Tiie state zvants to know whether a man is 
married and has children. 

Irene. 
(Impatiently, seating herself.) 
Yes — but socially — socially they don't care a jot. 

Townsend. 
(Walking about.) 
Oh, don't they? Well, just you try being a bachelor 
for awhile, and listen to the things they say about us. 



"WHAT'S IN A NAME?" 19 

We encumber the earth ; we're too selfish to share our 
incomes and our bureau drawers ; and the latest thing is 
to hold the non-marrying bachelor responsible for the 
decrease in the birth rate. 

Irene. 
{Obstinately.) 
It's no one's business. 

TOWNSEND. 

Maybe it isn't. But they're jolly well making it their 

business. _ 

Irene. 

{Rising and facing him.) 

Well, then, if it's as important as all that, why not get 

married? ™ 

ToWNSEND. 

{Seriously.) 
You see, I haven't quite got over the shock of your 
being married, Mrs. Everett. 

Irene. 
I'm not Mrs. Everett — I'm Miss Macey. 

ToWNSEND. 

{Slowly, as he goes to take his hat from the table.) 
Oh, if you insist upon it. Only it's going to be a bit 
awkward for your friends. 

Irene. 
Awkward. I don't understand. 

ToWNSEND. 

Introducing you around. Lord ! There's a situation 
for you! Mr. and Mrs. Ev — Miss Macey, Mr. Everett. 
It isn't if you were a well known actress, for instance. 
Even then, they're usually Mrs. Something-or-other to 
the butcher and the baker. 

Irene. 
I don't see what that has to do with it. 



20 "WHAT'S IN A NAME?" 

TOWNSEND. 

{Turning to the door, left, with a slight shrug.) 
Oh, well, don't be surprised if other men make love 
to you — and not quite as respectfully as I've done it. 

Irene. 
I think you're horrid — perfectly horrid ! 

ToWNSEND. 

{At the door.) 
I'm sorry. But believe me, I'm not a circumstance to 
what you'll get elsewhere. And, is it worth it? A rose 
by any other name, you know. 

Maggie, zvithout apron or cap, enters nnthout knocking 

from the door back left. Townsend looks at 

her, then starts to go. 

Townsend. 
Good morning. 

Irene. 
{Remembering her manners.) 
Oh, please come again sometime. 

Townsend. 
I will — some evening. Good-bye. {He exits.) 

Irene. 

{Severely, to Maggie.) 

Maggie, never again enter a room without knocking. 

Maggie. 
{Impudently.) 
Knocking, is it! Sure, and I've stood enough. I'm 
after lavin'. This is no place for a respectable girl. 

Irene. 
{Furious.) 
Maggie! How dare you! Leave the room this minute! 



"WHAT'S IN A NAME?" 21 

Maggie. 
Sure, I'm goin'. But I shouldn't be doin' my duty as 
an honest woman if I didn't tell you what I think of this 
place before I go. What with grocers' winks, and Miss 
Maceys, and Mr. Everetts — and gentleman callers in the 
mornin', an' no weddin' ring — an' all — 

Irene. 

^^^^^ ■ Maggie. 

I'll go to confession this very day. Father Donnell 
wouldn't lave me to stay one minute — such goin's on, 
ma'am — I should say miss — I niver expected to get into 
— and — 

Irene. 

{Exasperated, yet zvith a certain patient insistence.) 
But — I have explained to you — carefully — Mr. Ever- 
ett and I are quite properly married. 

Maggie. 
Axin' your pardon, ma'am — miss — I don't belave it. 

Irene. 
{Angrily.) 
There, Maggie. I've heard quite enough. You will 
go this instant — at once ! 

Maggie. 
{Impudently.) 
Yes, ma'am — miss — that's what I said. I hope you'll 
turn over a new leaf, and be a dacint woman in future. 
{Feeling she has had the best of the encounter, she exits, 
hack left, triumphantly. Irene, furious and disgusted, 
throws herself into the chair right, dissolved in tears. A 
key is heard in the lo<k.) 

Enter Jim. Seeing his wife's distress, he lays down hat, 

gloves and overcoat, all of which he has taken off 

on his way through the hall, and comes 

to her quickly. 



22 -WHAT'S IN A NAME?" 

Jim. 
My darling girl, what on earth is the matter ? 

Irene. 
(Rising, throws herself in his amis, speaking through 
her sobs.) 
Oh, I've had a wretched morning! 

Jim. 
My dearest ! 

Irene. 

(Betzveen sobs.) 
Yes. First, Kate, then Mr. Townsend — 

Jim. 
Mr. Townsend ? 

Irene. 

Yes, I used to know him — he lives upstairs — and now 
Maggie ! 

Jim. 
(Completely be-ivildered.) 

But I don't understand. What have all these people 
to do with it 

Irene. 

(Lifting up her left hand.) 
It's this ! 

Jim. 
(Taking it and looking at it.) 
It's a very nice hand. What's the matter with it ? 

Irene. 

(Points at the ring finger.) 
That ! 

Jim. 

(A light dawning on him.) 
Oh, I see. And they've all been horrid about it? 
Surely (with growing indignation) — surely no one has 
dared to suggest — 



"WHAT'S IN A NAME?" 23 

Irene. 
Oh, no — that is, no one but Maggie. She's leaving 
{again she sobs on his breast) be-because she says we're 
not respectable. (Her voice ends in a wail.) 

Jim. 
There, now. You sit down, and I'll settle Maggie. 

Irene. 
{Clinging to him.) 
You can't ! She's going — and she can't go too quick. 
(There is a very loud knock at the door back left.) 

Jim. 
{Impatiently.) 
Come in. 
Enter Maggie in hat and jacket, carrying a bag. 

Jim. 

Oh, it's you. 

Maggie. 

(Defiantly.) 

Yes, sir, it's me! And, if you plaze, I'll take a half 

day's wages — and if you want to look at me bag to see 

if I've taken any spoons, you can! 

Irene. 
(To Jim.) 
For heaven's sake, give her anything — only let her go 
quickly ! 

Jim. 
(Taking out a bill zvithout looking at it and handing it 
to Maggie.) 
Here, now ! And you and your bag, get out quick ! 

Maggie. 
It can't be too quick for me. I've no likin' to be con- 
taminated. 



24 "WHAT'S IN A NAME?" 

(A furious gesture from Jim sojuewhat Intrries her 
exit. But her head is still high, her manner triumphant as 
she sails out through the door left.) 

Irene. 
(At Maggie's last word she sinks info the chair right 
with a ivail.) 
Contaminated! {She sobs.) 

Jim. 
{Going to her and putting Jiis hands on her shoulders.) 
There, there, httle girl ; I wouldn't take it so hard. 

Irene. 

{Rises and leans against him, but does not turn to look 

at him.) 

Jim! 

Jim. 

Yes, dear. 

Irene. 

I don't think the theory— works — well — that is — oh ! 

It's been perfectly awful, and they say it'll be worse. 

Jim. 
\Vell, what do you think? 

Irene. 

{Turning and hiding her face against him.) 

Perhaps — perhaps you'd better get a wedding ring, 

Jim. , 

Jim. 

{With a grin releases her and dives into his vest pocket. 

She watches him curiously.) 

I've got one. {He drazvs out a zvcdding ring and slips 

it on her finger.) , 

Irene. 

{Breathlessly.) 

You had it all the time! (Jim, to hide a laugh, kisses 

the hand.) You're laughing at me. 



"WHAT'S IN A NAME?" 25 

Jim. 
Oh, no, I'm not — 

Irene. 
{Jerking her hand aivay.) 
You were sure I was going to give in. 

Jim. 
Oh, no; I just had it in case — of — accidents. 

Irene. 
{Who has not been listening to him, lost in admiring con- 
templation of her ring, speaks while still gazing at it.) 
But I've not given in. 

Jim. 
Oh, no ; of course not. But, come on and get my lunch, 
Mrs. Everett. i^He laughingly draws her tozvard the 
door back left.) 

Irene. 
{Turning quickly as she lets him pull her tozuard thd\ 

door.) 
Oh, but I'm not going to be Mrs. Everett — 

• Jim. 
Why, no ; not if you don't want to — that is — not until 
after lunch. (And so on, ad lib., she protesting as they 
exit through the back door left.) 

Curtain. 



\ 



By Way of the Secret Passage 

By LINDSEY BARBEE. 

Price 25 Cents 

Comedy-drama in 3 acts; 1 male, 11 females. The character 
of John Harvey can easily be assumed by a girl if it is not de- 
sirable to have a man in the cast. Time, 1% hours. Scene: 1 
interior. Characters: Mrs. Sherman, the hostess. Betty Drew, 
her niece. Ruth, Alice and Rita, guests. Hannah, a maid. 
Madame Drew, of revolutionary days. Annette, Caroline and 
Elizabeth, her daughters. Wenonah, an Indian maid. John Har- 
vey, of the Patriot army. 

SYNOPSIS. 

Act I. — B'etty's engagement dance on Christmas night. The por- 
trait of Mrs. Elizabeth Drew. Betty's great-great-grandmother. 
The story of Mistress Elizabeth's romantic career. Ghosts of the 
happy pair haunt the room each Christmas night. Rita falls 
asleep in a chair and dreams a dream. 

Act II. — Scene f — The dream of long ago. John Harvey gains 
an interview with his lady love. The secret mission is made 
known to Mistress Elizabeth and the marked chart is put into 
her hands. Shots, pursuit and the secret passage. Scene II — 
Where is Elizabeth? The mysterious tapping. Elizabeth makes 
a dramatic entrance and brings astounding news. 

Act III. — Rita awakes. Betty's puzzling absence is discussed. 
Another mysterious tapping. "He's waiting for me — at the end 
of the secret passage, the same as in the long, long ago!" 

Abbu San of Old Japan 

By WALTER BEN HARE. 

Price 25 Cents 

Comedy-drama in 2 acts; 15 females. Time, about 2 hours. 
Scene: A simple interior. Characters: Abbu San, daughter of 
his majesty. Duchess Fuji-no. Lady Yu-giri, Mist of the Even- 
ing. O Matsuka San and O Kiku San, maids of honor. Ohano, 
wife of the bandit chief. Natsu-no, hostess of the inn "Million 
Welcomes." Okuku, sister of the Ox,' a porter at the inn. Umi, 
Sada and Y''asa, peasant maids. Henrietta Dash, an American 
newswriter. Aunt Paradise, a black mammy. Madam Masago, 
manager of the players. Ono, her maid of all work. 

An absolute novelty in play construction, bristling with inci- 
dents and sparkling with comedy. The play is presented after 
the fashion of "The Yellow Jacket," the stage hands changing 
scenery in full view of the audience and the manager e.xplaining 
the action and introducing the different characters from her seat 
at the side. The star part is particularly suited to the tempera- 
ment of a pretty little ingenue, the characters of Fuji-no and 
Mist of the Evening call for heavy and effective dramatic work 
and old Aunt Paradise who longs for "ole Virginny" is a comedy 
creation of especial note. Dances and song numbers from Mi- 
kado are called for by the te.xt but these may be given or not at 
the pleasure of the manager. A picturesque and very effective 
dramatic entertainment with a distinct plot that will interest and 
amuse any audience. Suitable for schools, colleges, clubs or 
churches. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



I 



Mrs. Tubbs of Shantytown 

By WALTER BEN HARE. 
Price, 25 Cents 

Comedy-drama in 3 acts; 4 males, 7 females (5 are children). 
Time, 2^4 hours. Scene: 1 interior. Characters: Mrs. Tubbs, 
tile sunshine of Shantytown. Miss Clingie Vine, her lady boarder, 
real genteel. Mrs. Hickey, a neiglibor wlio hates gossip. Maydelle 
Campbell, the young school teacher. Simon Rubbels, the corner 
grocery man. Tom Riordan, tlie census taker. Queenie, aged 
twelve. Methusalem, aged eleven. Billy, aged seven. Victoria, 
aged tliree. Elmira, aged ten. 

SYNOPSIS. 

Act I. — Mrs. MoUie Tubbs and her happy little family in 
Siiantytown. The pretty, young school teacher and the Census 
Talver have a disagreement. Mrs. Tubbs as first aid to Cupid. 
Mrs. Hickey expresses lier opinion of Simon Rubbels. Miss Clingie 
Vine has her census taken. "My maw was a Virginia Hamm, and 
wlienever we liad company, papaw always wore full evening 
garbage." Bad news from Kansas. "Tliere ain't no way too far 
for a mother's love. I'm going to my boy." 

Act II. — A month later. Mrs. Tubbs returns. Simon Rubbels 
decides to find a wife. "If lie ain't a red-lieaded hippopotamus, 
there never was one on this green earth." A Shantytown Iiigh 
jinks with song and menagerie. Clingie Vine decides to be a siren. 
The liglit in the window for Jimmie. "I've got my babies, and 
I've got tlieir love, and all the money in the world can't take that 
from me, so Mr. Simon Rubbles, the honorable Mrs. Tubbs re- 
spectfully declines your offer of matrimony." 

Act III. — A Shantytown Thanksgiving. Mrs. Hickey brings the 
news and Miss Vine inherits a fortune. Mr. Rubbels worries Mrs. 
Tubbs again. "You kin turn me out in tlie streets tomorrow, but 
tonight tills liouse belongs to me. Now there's the door and 
tliere's your hat. I won't detain you no longer." Miss Vine and 
tlie good loolcing grocery boy. ".Jimmie, my boy, my boy!" The 
return of the Prodigal Son. "I reckon I'm the happiest woman in 
the United States of America. My cup runneth over, my cup 
runneth over!" MRS. TUBBS SAYS: 

"Clingie's certainly a long time makin' up her mind, but when 
slie's sot a steam shovel himself couldn't unset her." 

"I hope and I trust, and when a person hopes and trusts fer 
a thing they ginerally git it. Everything is bound to come out 
riglit some time." 

"I ain't goin' to worry. Tliere ain't no use in h'istin' your 
umbrella until it begins to rain." 

"I jest do what I have to do and make the best of it. Mr. 
Tubbs used to say that my voice would scare anything, so I jest 
ti'v to malie it scare the lilues." 

"Bibulous? Bibulous, Theodore Tubbs, bibulous? -Wliy, mister, 
tliat man didn't know no more about the Bible titan my sister's 
cat's tail. And what's more, I ain't got no sister. 

"Men is men the hull world over, and it seems jest like it's 
a man's nature to do that which they oughtn't to do. and to leave 
undone them things they ought to have did. That's Scripture." 

"What difference does money make? If you've got your youth 
and your strength and your love, that's worth all the money that 
was ever made in tliis wliole world." 

"Love your country and stand up fer It to the last ditch. Poor 
folks can love their country jest the same as rich ones. And better." 

"Keep smiling." ^ _^_____^__^.^.^^_-_^___ 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Macbeth a la Mode 

By WALTER BEN HARE. 

Price, 25 Cents 

School burletta in 3 acts; 7 males, 7 females, also teachers, 
students, etc., with only a few lines. Time, li/4 hours. No scenery 
required, merely a front curtain and an easel with placards an- 
nouncing scenes. Plot: Willie Macbeth is tlie social leader of the 
Senior Class. With his friend Banquo he encounters Three 
Witches, who prophecy that lie will pass his examinations, be 
elected to a class office and will play on the football team. The 
first two prophecies come true and in Act II, Lady Macbeth, his 
mother, arranges for him to play pn the football team, by drugging 
the captain. Macbeth flies to the witches for further advice and 
learns that he will make a touchdown. He does, but runs with 
the ball toward the enemy's goal, thus losing the game for his 
own team. Contains five songs: "Fairwell, My Fairy Fay." 
"Tact," "The Senior Class," "Music and Laugliter" and "Good 
Night," all sung to college airs. This play is very humorous and 
particularly adapted for schools. 

THE WITCHES' CHANT 



Round about the cauldron go; 

Mathematics you must know. 

Let X equal tlie cold stone. 

When will Y be thirty-one? 

Drop that in the mystic pan; 

Tell me, pray, how old is Ann? 

Double, double, boil and bubble, 

Matliematics makes them trou- 
ble. 

Fillet of a fenny snake. 

In the cauldron boil and bake; 

Eye of newt and toe of frog. 

Wool of bat and tongue of dog, 

Biology makes 'em cut and jab. 

Thirteen hours a week in lab. 

Latin, Greek and German, too, 

Fifty pages make a stew. 

And to thicken up the mystery. 

Take two chapters English His- 
tory. 

Physics, French and English Lit, 



Spend an hour on each or git. 
All night long from six to three. 
Study math and chemistry. 
In the hours when you should 

dream. 
Write an English twelve-page 

theme. 
Work at night and Sunday, too. 
Outside reading you must do. 
Next day, when you're on the 

bunk, 
Teacher springs exam — you 

flunk. 
Double, double, boil and bubble, 
High school life is full of trouble. 
Cool it with a Freshman's blood, 
Then the charm is thick and 

good. 
By the pricking of my thumbs. 
Something wicKed this way 

comes. 



Reminiscences of the Donation Party 

By JESSIE A. KELLEY. 
Price, 25 Cents 

The soliloquy of a minister's wife, with tableaux. For 40 or 
more characters, both sexes, although the number is optional and 
it can be presented with a smaller cast. Time, about 35 minutes. 
The wife at the side of the stage recounts the many amusing 
incidents of the party, tells who attended and what they brought, 
etc. The characters appear in pantomime. This entertainment is 
unique. It fills the demand for something that can be put on "at 
the last moment." It eliminates the usual long preparations re- 
quired in producing a play; no parts to memorize and it can be 
played on any platform. Highly humorous, replete with local hits 
and strongly recnmmonded for churcli societies. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Sava^eland 

By WALTER BEN HARE. 

Price. 50 Cents 

Musical comedy in 2 acts; 5 males, 5 females and chorus. 
Time. 2% hours. Scenes: 2 exteriors. Characters: Jake Heinz, 
the fifty-ninth "variety. Sherlocko Combs, a defective detective. 
Buckskin Buddy, from Savageland. Gilroy Claj-, in love. Big Chief 
Heap Much Scalpem. ilarigold Lee, the Quaker maid. DaCEodil 
Dotty, poetess of passion. Birdie 3Jagoogin, the Irish Cinderella. 
Ysobel, in vaudeville. Wee-nah, the marble lady. Contains nine 
catchy songs: "Summer Girlies," "Fair Quaker Maid," "The Mod- 
est Blossom," "Letter Song," "Ho, for the West," "He Xever Came 
Back Again." "The Little Birch Canoe," "The Message of the Red, 
Red Rose" and "Twinkle Doodle Dum." Five of the songs are set 
to original music by Henry Bethuel Vincent. The remainder are 
sung to familiar college airs. The foundation of the plot is laughter, 
carefree, a bit of satire, a touch of sentiment, which combined, 
will make you imderstand that life's a merry jest in Savageland. 
Detailed directions given with each musical number for the ar- 
rangement of the chorus, marching, stage pictures, etc. 

First produced by The Savage Club at Cornell University. Suit- 
able for any occasion and especially recommended for college and 
high school productions. 

. SYNOPSIS. 

Act L — The Summer Girls and the Little Quaker Maid. Sher- 
locko Combs, the wonderful detective, searching for a missing 
heiress. "She's worth a million, has a green shamrock tatooed 
on her right wrist and wears a No. 10 shoe." Buckskin Buddy 
from Savageland looks for the detective. A missing pitcher of 
pearls. Sherlocko on the traiL Jake Heinz, the fifty- ninth varietj-, 
becomes a Doctor "Watson. Clay finds that the course of true 
love never did run smoothly. Miss Daffodil Dottj". the poetess 
of passion, has an inspiration. The Cowboy and the Lady. "Ho, 
for the We-st!" A living statue. Birdie Magoogin's story. The 
new cook shows her temper. .Jake Heinz, on the trail, proves 
himself a hero. .Jake finds the missing heiress and wins her for 
his bride. "Then hit the trail for Savageland, three thousand 
miles awayl" 

Act II. — In the Savage Mountains. Jake and Birdie on their 
honejTnoon. The automatic carbuncle of the automobile explodes. 
"Ye should have used soothing s>Tup instead of ga-soline." The 
Duchess Heinz entertains with a green tea. The .Scotch Laird of 
Kilkuse. "Hoot, mon. hoot:" "He talks like an owl — because he's 
from the owld countrj-." Music les.sons in Savageland. "He has 
a cadenza like a flamingo and warbles like an aurora borealisl" 
Marigold realizes that the old love is the best love. The Yaki 
Indians and their Chief, Heap Much Scalpem. A pipe of peace. 
The Chief throws dust and declares war. The missing Goddess of 
Love. Sherlocko exposed. The storm in the mountains. Lightning 
strikes an old tree, it falls apart and discloses the goddess, 
Wee-nah. "The wonderful Sherlocko never fails." 

"A capacity audience at the Lyceum Theater last night was 
given two hours of unalloyed fun with the Savages in 'Savageland' 
and many were the regrets when Wee-nah was discovered and 
there was nothing left to do but to return to Ithaca and the work- 
aday world." — Ithaca Evening News. 

T. S. DEXISON & COMP.4NY, Publishers 

154 W. Randolph Street, CHICAGO 



The Royal Highway 

By CHARLES ULRICH. 
Price, 25 Cents 

A comedy-drama in 4 acts; S males, 3 females. Time, 2% 
hours. Scenes: S interiors. Characters: Arthur Morgan, a law- 
yer. Cliarles Williams, a mine superintendent. Bill Hampton, a 
political boss. Harry Felton, a clerk. Horace Allen, a secretary. 
Rev. Jordan, a Metliodist minister. Jimmy Farrell, an ex-convict. 
Sam Harrison, a detective. .Margaret Ames, known as Miss 
Holmes. Lucy Matthews, a stenographer. Mrs. Mary Jones, presi- 
dent of the Ladies' Aid Society. 

SYNOPSIS. 

Act I. — The game of modern politics. The bribe. Morgan 
defies a political boss. "I'll crush you like I would a flv!" An 
anonymous philanthropist. The compact and avowal of love. The 
robbery and accusation. Margaret saves Morgan's honor. "No, 
it waj Providence!" 

Act II. — "I wish I had a millionaire friend like Miss Ames!" 
Farrell butts in. "Youse is playing a game of hearts what ain't 
in your contract." "Williams divides the spoils. Margaret defies 
Williams, "Where did you get that money?" A villian's kiss and 
punishment. The power of attorney. "You'll be at my feet cry- 
ing for mercy!" 

Act III. — "Who is this anonymous philanthropist?" "The New 
York police are looking for you!" The tables turned. "I'll get 
your measure all right!" The story of Morgan's sorrow. "I could 
not forgive the woman who deceived me!" The nomination and 
accusation. Margaret's .ioy. "You are indeed a man among men!" 
Act IV. — "This suspense is driving me mad!" The letter. "I'm 
on the track of the man who killed my sister!" The convict's 
secret. "Williams was my pal in Sing Sing!" Margaret reveals 
herself. "Gee! She's an icelierg!" "How little you know of true 
love!" Williams pays tlie penalty of treachery. Harry's promo- 
tion. On the royal highway. 

Re-Taming of the Shrew 

By JOHN W. POSTGATE. 
Price, 25 Cents 

Humorous Shakespearean travesty in one act; 6 males, 5 females. 
Time, about 4 5 minutes. One simple interior scene. Characters: 
Petruchio, Angelo, Duke of Illyria, Othello, Macbeth, Grumio, 
Katherine, Mariana, Viola, Desdemonia and Lady Macbeth. Plot: 
After Iier woeful honeymoon, Katlierine becomes an ardent suf- 
fragist and imposes household duties on Petruchio, who submits 
to petticoat government. At a mooting of the women, man's docim 
as a political or domestic power is announced. The women return 
to Petruchio's home to find their husbands liaving a high old time 
A lively controversy ensues but the men win the day when tlie>' 
threaten to appeal to the divorce courts. This travesty draws 
material from "Taming of the Shrew," "Measure for Measure," 
"Twelfth Night," "Othello" and "Macbeth." It retains many of 
the original lines from the plays, yet most ingeniously devised to 
fit the conditions of today. Costumes either Shakespearean or 
modern. Especially recommended for schools, colleges, etc. Re- 
plete with liumor and sliould please any good club or society. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Deacon Entangled 

By HARRY OSBORNE. 
Price, 25 Cents 

Comedy in 3 acts; G males, 4 females. Time, 2 hours.' Scene: 
1 interior. Characters: Deacon Penrose, a member in good stand- 
ing. Calvin, his nephew. Rev. Sopher, a supporter of foreign mie- 
sions Harry Baxter, a sporting writer. RaffertJ^ a policeman. 
A Plain Clothes Man. Mrs. Penrose. Ruth, her daughter. 
Georgie, Rev. Sopher's daughter. Katy, a maid. 
SYNOPSIS. 

Act I. — In which the Deacon finds himself in a tight corner. 
Dr. Sopher, who can coa.x money out of a wooden Indian. A thou- 
sand dollars for the new pipe organ. Cal arrives. A clean-up- 
clouter instead of a ministerial prospect. "Did I forget my necktie 
and button my collar in tlie back?" The Deacon spends a night 
out. "We won't go home until morning." 

Act II. — The raid on the gambling joint. "Why didn't yon 
jump when I told you." On bail. "A thousand dollars to the Doc 
or you lose your job as Deacon; a thousand to the judge or six 
months." A sporting chance. Ready for the game. A donation 
to Foreign Missions and a double barreled courtship. The elope- 
ment. The arrest. "Come on Cal, I'll see you through." 

Act III. — The big game. Tied in the Tenth. Cal goes to the 
box. A Pinch Hitter. "Over the scoreboard." On the Deacon's 
trail — the Horse pistol — pay the fine or go to jail. A hair line 
finish. "Hold on. Copper." "Here's your thousand and here's 
your girl. Look happy and have your picture taken." A new 
son-in-law. "Bother Boarding School." The Deacon smiles. 

A Trial of Hearts 

By LINDSEY BARBEE. 

Price, 25 Cents 

College comedy in 4 acts; 6 males, 18 females. Time, 2% hours. 
Scenes: 3 interiors, 1 exterior. Characters: Dudley Van Antwerp, 
a wealthy college man. Philip, his best friend. Roger, Teddy, 
Jack and Jerry, fraternity men. Mrs. Van Antwerp, of great im- 
portance. Honor, Dudley's wife. Fourteen lively sorority girls. A 
chaperone and a maid. 

SYNOPSIS. 

Act I. — Gretchen and Jerry play Romeo and Juliet. Ted pleads 
the cause of Kappa Psi. Jack argues for Delta Chi. Dudley intro- 
duces Honor to his mother. Virginia learns of Dudley's marriage. 
"I want to go home — oh, I want to go home!" 

Act II.— The football enthusiasts bring news of Barbara. 
Gretchen and Jerry study Latin and argue fraternity. Honor finds 
it all a little strange. Dudley tells Virginia his love story. "Oh, 
Dudley, you hurt me!" "There's nothing left for me but to go away!" 

Act III.— "I wonder if people ever get too busy to care!" 
Mrs. Van Antwerp opens fire and Honor stands her ground. "I 
mean to stay!" "I wish I had no heart — it aches so!" "Dear 
little girl, it "is good-bve." Honor hears Dudley declare his love 
for Virginia. "Oh, Dad-Dad — vour little girl is coming home!" 

Act IV. — Gretchen and Jerry "grow up." The Seniors toast 
the past, the present and the future. Mrs. Van Antwerp reproaches 
herself. "Here comes the bride." The Kappa Psis and the Delta 
Chi holds reunions. "Honor, is it really you?" "If you want me, 
I am here." ^ __^ 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Thread of Destiny 

By LINDSEY BARBEE. 
Price, 25 Cents 

Comedy-drama of the Civil War in 3 acts; 9 males, 16 females. 
Time, 21/2 hours. Scenes: 1 interior, 2 exteriors. Characters: 
Peyton Bailey, of the U. S. army. Beverly Montgomery, a con- 
federate scout. Colonel Montgomery, a gentleman of the old school. 
Tom Randolph, a Southern gallant. John Morton, of the North. 
Ralph, who did not go to war. George and Uncle Billy, slaves. 
A Union Scout. Virginia, the toast of the country. Betty, the 
"Little Colonel." Edith, a northern cousin. Louise, a spy. Eight 
charming southern girls. Mrs. Montgomery. Miss Melissy, of in- 
quisitive nature. Fanny and Mammy, slaves. 
SYNOPSLS. 

Act L — Betty breaks a looking glass. Edith calms her fears 
and tells her "the signs of the times." "Virginia has seceded." 
Beverly enlists. "A Virginia woman does not even recognize an 
acquaintance among the enemies of Virginia." 

Act II. — "I don' wan' no tarnished silber linin' to my cloud." 
"There are some things more precious than money, than jewels." 
"Death cannot conquer love — nor eternity." "Some day there will 
be no North, no South, but the Union." The Union scout falls a 
prey to Edith's fascinations and lier cleverness wins the coveted 
dispatch. Virginia opens the door — to Peyton. Beverly is dis- 
covered. Friendship proves stronger than duty. 

Act III. — Three years work a great change. Peyton pleads in 
vain. George and Fanny "take de road to de Ian' of happiness." 
"In our little circle the stars and bars are floating high." Virginia 
gives Peyton another rose and together they trace against the 
background of blue and gray "tlie golden thread of destiny." 



Shadows 



By MARY MONCURE PARKER. 
Price, 15 Cents 

Play of the South today and a dream of the past in 1 act; 
an interior scene; 'i males, 4 females. Time, 35 minutes. Charac- 
ters: Prologue and the Awakening: Robert Ashton, Virginia's 
sweetheart. Aunt Geranium, an old colored mammy. Virginia Lee, 
a .southern maid. The Dream: Gordon Sanford, a soldier in love 
with Alice. Harold Hale, the successful rival. Mrs. Horace 
Fairfax, a stern motlier of long ago. Alice Fairfax, her dutiful 
daughter. STORY OP THE PLAY. 

Virginia Lee's mother insists upon her marriage with a rich 
suitor, who has agreed to restore their impoverished estate. Vir- 
ginia has a sweetheart of her childhood days and hesitates in 
making a choice, but finally decides upon wealth instead of love. 
An old colored mammy, who has spent her life in the Lee house- 
hold, understands the situation and tells Virginia of a similar 
episode in tlie life of Virginia's grandmother. Virginia in ponder- 
ing over the incident and grieving over her own troubles, falls 
asleep. She dreams of the story just told and the dream folks 
appear and play their parts. Vii-ginia awakens, the sliadows flee 
and she comes to her senses and her lover. 

The old colored mammy says: "Dis heah ole worl's jes' full 
of shadders. Fokes comes an' rlcy goes, ripens and drops like the 
fruit on de tree. Ole Mars is gone, old Mistis gone. De substance 
melts and fades away. Ain't notli ing left but shadders." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 



M. F. 

Winning Widow, 2 acts, V/z hrs. 

(25c) 2 4 

Women Who Did, 1 hr...(2Sc) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES, COMEDIETAS. Etc. 

AH on a Summer's Day, 40 min. 4 6 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min... 23 

Country Justice, IS min 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min 1 4 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in Photo Gallery, 30 min.. 6 10 
Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 

I'm Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, IS m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

My Wife's Relations, 1 hr.... 4 6 

Not a Man in the House, 40 m. 5 

Pair of Lunatics, 20 min 1 1 

Patsy O'W^ang, 35 min 4 3 

Pat, the Apothecary, 35 min.. 6 2 

Persecuted Dutchman, 30 min. 6 3 

Regular Fix, 35 min 6 4 

Second Childhood, IS min.... 2 2 

Shadows, 35 min 2 2 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min..... 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Turn Him Out, 35 min...... 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, IS m. - 

Two Ghosts in White, 20 min. . S 

Two of a Kind, 40 min...... - ^ 

Uncle Dick's I\Iistake, 20 min. . 3 2 

Wanted a Correspondent, 4 5 m. 4 4 

Wanted a Hero, 20 min 1 1 



M. F. 

Wide Enough for Two, 45 min. S 2 

Wror>g Baby, 25 min 8 

Yankee Peddler, 1 hr 7 3 

VAUDEVILLE SKETCHES, IMON- 
OLOGUES, ETHIOPIAN PLAYS. 

Ax'in' Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 ra.lO 
Breakfast Food for Two, 20 m. 1 

Cold Finish, 15 min 2 

Colored Honeymoon, 25 min... 2 
Coon Creek Courtship, 15 min. 1 
Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m.l4 

Counterfeit Bills, 20 min 1 

Darktown Fire Brigade, 25 min. 10 
Doings of a Dude, 20 min.... 2 

Dutch Cocktail, 20 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min . . 2 
Glickman, the Glazier, 25 min. 1 
Good Momin' Judge, 35 min. . 9 

Her Hero, 20 min 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 

Jumbo Jum, 30 min 4 

Little Red School House, 20 m. 4 
Love and Lather, 35 min..... -3 
Marriage and After, 10 min.. 1 

Memohis Mose, 25 min 5 

Mischievous Nigger, 25 min . . 4 

Mistaken Miss, 20 min 1 

Mr. and Mrs. Fido, 20 min 1 

Oh, Doctor! 30 min 6 2 

One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min . . 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10m. 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funnygraph, 15 m. 6 

Sham Doctor, 10 min 4 2 

Si and I, IS min 1 

Special Sale, 1 5 min 2 

Stage Struck Darky, 10 min.. 2 1 
.Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 I 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, IS min.... 2 

Uncle Jeff, 25 min 5 2 

What Happened to Hannah, ISni. 1 1 



A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T. S. DENISON & COMPANY, Pubrishers,154 W. Randolph St. , Chicago 



POPULAR ENTERTAII . ... ^._ ... 

Price. Illustrated Paper Cove.-, -SJlt l°2..612 





IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
er design. 
A Partial List 

DIALOGUES 

All Sorts of Dialogues, 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for youn^ people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original- 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 
From Tots to Teens. 

Dialogties and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morotis, descriptive, prose, 
poetry. 15 Nos., per JMo. 25c 

DRILLS 

The Best Drill Book. 

N'ery popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 1 1 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good. Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletlde Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Diack American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland.via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

-Ml about the business. 
The New Jolly J6ster. 

Funny stories, jokea, gags, etc. 

Larc* Illustrated Cataloeue Free 



T.S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago 



